Article written by Rory Hawkins (literature) and Samuel Burnett (film).
Released at Comic-Con 2016, anticipation for Warner Bros. adaptation of The Killing Joke hit an all-time high. The original 1988 comic is seen as the essential Joker origin story, and quintessential in showcasing his and Batman’s love-hate relationship. But turning a 64-page graphic novel into a feature length movie has its hurdles – and quite the opposite to most book-to-screen adaptations.
Rather than cut down or simplify content, it was up to screenwriter Brian Azzarello to extend the run time, hopefully fixing some plot contrivances along the way. Warner Bros. and DC Comics promised a classic brought to life with no holds barred, R-rated and unwilling to shy away from source material. But what was the result, and how does it stand as an adaptation? Literature and Film & TV’s Rory and Sam explore!
Rory:
I’ll admit, though I’d heard a lot about The Killing Joke around its screen released, I’d never considered much about it. Just opening the first pages of the graphic novel, though, I could already see one of the reasons it’s so praised. I loved the art style – 1988’s Batman looked so crime-noir. Artist Brian Bolland really knew how to use shadows to play off characters' angular figures. The attention to detail on characters shows how much thought was put into each panel. The setting of Gotham City looks so dark and jagged, you can instantly know this place means danger.
Sam:
When I heard that a Batman classic was getting an adaptation (R-rated no less!), you’d better believe I was excited. For me, the 1988 graphic novel is dark and tense, never letting up for a second. I understand that when adapting something so relatively small, plot themes need to be stretched out that bit more. I also agree wholeheartedly with the intentions behind focusing more on Barbara Gordon (aka Batgirl).
Rory:
The comic’s plot definitely needed some work, especially with fleshing out Barbara Gordon. For a stand-alone movie, she needs a more substantial character, rather than being the plot device that sets the story off. Even its writer Alan Moore has expressed regrets of how Barbara Gordon was treated in such a short piece.
Sam:
*SPOILERS* At the beginning of the novel (and mid-way through the film), the Joker shoots Ms Gordon at point-blank range, crippling her for life. Barbara is essentially ‘fridged’ – the act of killing/mutilating a female character for the sole reason of providing emotional motive to a male protagonist. Since this, DC has mainly held Barbara’s condition as canon. Whilst I didn’t want to see the act itself changed, like many other fans, I agreed that her character needed more screen time and development.
Rory:
So, moving on to the film adaptation. Aesthetics-wise, I was disappointed. Whilst the second half clearly mirrored its source material, the art-style was just the basic Warner Bros. animation style I’ve seen for the Justice League and Batman cartoons. There was nothing that made you feel like you were watching something distinct, rather just another Batman show. I found it detracted too much from the setting and story’s personality (especially in later scenes where maximum creep factor was needed).
Sam:
But the worst has to be Barbara’s tacked-on plot. Her extra screen time was supposed to give her more agency… and it did the exact opposite. Act 1 cuts between Batgirl handling ‘Paris Franz’ (yes… I know…), a mafioso who quickly becomes obsessed with her, and Barbara Gordon trying to figure out how she feels about Batman. Yes, we have to watch her talk to her gay best friend about wanting to bang her ‘yoga teacher’.
Rory:
The dialogue around all of this was atrocious. It’s so blunt or cliché in the first half that you can tell it was written by someone else. Rather than become equals like she says she wants, Barbara becomes this nervous schoolgirl around Batman. And he gets the most sanctimonious lines, even a monologue about ‘standing at the edge of the abyss’. Reading through the plot, it’s like a fanfic.
Sam:
This climaxes in one of the most out-of-place sex scenes I’ve ever had to see in a movie. The two finally fight over how Batman treats Barbara and somehow… she begins kissing him? Naturally, this being the daughter of the closest thing Batman has to a best friend, he goes along with this. As Barbara straddles him, stripping, the camera pans to a voyeur-ish gargoyle above the two. Seeing this in theatre, there wasn’t one person with a straight face – most couldn’t stop laughing.
Rory:
The first half of the film has next to nothing to do with the Joker. Instead, we get a preamble meant to make us feel more sympathetic for Barbara when she gets shot. Because of this disconnect, that could’ve been anything. Rather than expand on the story that was already critically acclaimed, it’s handled in the worst possible way.
Sam:
It’s true that the second half of the movie is extremely faithful to the 1988 comic. They have all the same set pieces and the story is followed panel to panel. Some of the Joker’s scenes even get extended (albeit with an eclectic musical number and awkward freak-show). If more focus had been put on the Joker alongside Batgirl’s development, The Killing Joke would’ve felt like it deserved a longer running time.
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